Volume 5, Issue 20 (2013)                   LCQ 2013, 5(20): 99-120 | Back to browse issues page

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Mokhtabad Amrayi S M, Shairih H R. hypertexts and paratexts in Iran’s cinema. LCQ. 2013; 5 (20) :99-120
URL: http://lcq.modares.ac.ir/article-29-4355-en.html
1- Associate Professor / Tarbiat Modares University, Faculty of Art & Architecture.
2- Associate Professor / Tarbiat Modares University, Faculty of Humanity
Abstract:   (9003 Views)
As intertextual studies penetrated in art, the intertextual scholars attention was drawn to various mechanism of text in intertextual analysises of Gérard Genette studies. Genette presented 5 types of these relations by proposing transtextuality. These studies gradually found their way to cinema. This article aims to survey hypertextual and paratextual relations-two component of transtextuality- in Iran’s cinema.Through facing cinematic adaptation, we will realize that how a movie text excerpts from other texts in different ways, whether they are literary texts or not! One of the basic issues of this research is to recognize all kinds of cinematic adaptations and their characteristics. In paratextual relations the text is placed on the threshold of the other text and it seems that its ratio to the release time is the most important issue in this regard. The objective pursued here is to introduce a model of intertextual relations which specifies types of these adaptations and paratextual time relations in iran’s cinma. For this purpose, after rereading review of literature of intertextuality, hypertextuality and paratextuality, we will distinguish intertext from intertextuality. Finally some of the movies of Iran’s cinema in 1370s and 1380s will be observed in order to achieve hypertextual and paratextual relations.
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Article Type: Theoretical | Subject: Semiotic Criticism|film criticism
Received: 2012/06/13 | Accepted: 2012/11/23 | Published: 2012/12/10

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